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"Dachauer Hefte"; "DOW Mitteilungen. Dokumentation des Oesterreichischen Widerstandes"; "Einsicht. Bulletin des Franz Bauer Instituts"; "Holocaust and Genocide Studies"; "Holokost i suchasnist. Studii v Ukraini i v sviti"; "Jewish Culture and History"; "Jewish History"; "The Jewish Quarterly Review"; "Vierteljahrshefte fuer Zeitgeschichte"; "Yad Vashem Studies"
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Keywords: contemporary; orchestra; romanian; musical culture;20th century;
The book presents a more or less investigated territory, that of the concert for orchestra from the Romanian creation of the second half of the 20th century, decades which were rich under the report of the artistic creation in general, and of the musical one in special. In this volume, the author covers the works created for instrumental ensemblies in variable composition (strings, tooters, percussion, double orchestra, etc.) with or without mandatory instruments.
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Keywords: SIMN; Timisoara;
After three days of artistic and editorial events included in theSIMN section program at Timişoara, a first for both the festival of theUnion of Composers and Musicologists in Romania and for the citizens ofTimişoara, the time came to record this in written history.
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Saint Clement is known for his missionary work in the West Bulgarian State. The title given to Clement by the Patriarchate of Constantinople upon the request of the Bulgarian Tsar Symeon was that of bishop of Velitza as testified in historical sources. The title, though, through which he became widely known was Clement of Ohrid. It must be noted that during his era there was no archdiocese of Ohrid. Until the end of the 10th century (Notitiae), there existed only the diocese of Lychnidos. Due to the fact that the Byzantine state considered all territories conquered by the Bulgarian Tsar as potentially Byzantine and would never grant the title of a Byzantine diocese, the Patriarchate preferred to establish a new diocese, the diocese of Velitza. Nonetheless, it is not completely wrong to associate Clement with the archdiocese of Ohrid, because according to the sources his missionary work covered a large part of the later archdiocese of Ohrid with only few exceptions (in the Catalogue of archbishops of Bulgaria his jurisdiction is defined by the phrase “eforan kai to triton meros tis Voulgarikis vasileias egoun apo Thessalonikis, achris Iericho kai Kanninon etoi Tasipiatou”). The archdiocese of Ohrid came about after the dissolution of the state of Samuel by Basil II, who established two themata, the thema of Bulgaria with Skopje as its capital and the thema of Paristrion with Dristra as its capital. In the thema of Bulgaria he established an archdiocese with Ohrid as its seat (the old Lychnidos) under the title archdiocese of Bulgaria
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The most ancient Romanian translations of the Bible are quite recent. The first one goes back to the end of the sixteenth century (1582), when a translation of Genesis and Exodus was performed by Calvinists on the base of a Hungarian intermediary. More than one century later (1688), another translation was produced on the base of the Septuagint. Lastly, towards the end of the eighteenth century (1795), Greek-Catholic Romanians created an alternative version on the base of the Vulgata. In spite of the heterogeneity of sources (Hungarian; Greek; Latin) and nothwithstanding the diversity of the religious obediences (Calvinism; Orthodoxy and Uniatism), it seems that none of the translations managed to bypass the mediation constituted by the Slavonic translation of the Bible. To a certain extent, it seems that the real source language was Church Slavonic rather than Hungarian, Greek or Latin, as shown by the use of a huge amount of Slavonisms in all of the aforementioned translations of the Bible into Romanian.On the base of Exodus 15 I will try to compare the three versions under consideration as far as their indebtedness to Church Slavonic is concerned. However, some of the Slavonisms should be rather considered Slavisms because they do not necessarily rely on the mediation of Slavonic translations of the Scripture. They rather go back to the period of intense contact between Romanian and Middle Bulgarian. Unlike the Slavonisms that are paralleled in the translations of the Bible into Church Slavonic, those Slavisms appear as spontaneous borrowings and it is not sure that they were even perceived as such on a synchronic level due to their perfect integration within the system of the Romanian language.After a synopsis of the three aforementioned versions confronted with the Middle Bulgarian manuscript Barsov 3 edited by Veselka Zhelyazkova the article proceeds to a linguistic commentary of the three kinds of Slavonic borrowings : the text-mediated Slavonisms ; Slavonisms that seem to be text-mediated but without the intermediary of manuscript Barsov 3 ; the Slavonisms that seem to bypass the mediation of the Biblical text.
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The paper aims at defining the area where the Protobulgarians first settled in the Northern Caucasus including the two areas of the Transcaucasus region adjacent to the Black Sea and the Caspian Sea. In the first centuries A.D., one of their subgroups, known by the name of'zix//yx/dzik', settled here near the coast. From here the (Proto)Bulgarians reached other areas between the Black Sea and the Balkan mountains. This may have happened even before the invasion of the Huns (compare the Vulgares in the Chronicle of 345 and other ethnonymic variants from the same period). The Bulgarians whose name goes back to an original form 'balqar', 'inhabitant of the mountains', are mentioned towards the end of the 2nd century B.C. as living “in the area of the high Caucasian mountains”. Later, a Protobulgarian community separated from the Prototurkic one and part of it, the Chony, whose name goes back to Prototurkic *qon (cf. the autonym of the Qumyks) was known in the middle of the 1st century A.D. in the North-Eastern and Central Caucasus. The Chony migrating here are mentioned as (h)onogur-es /(h)on(n)ogundur-es in the 6th–7th century in the North-Eastern Caucasus (along the river Kuban') and then under the leadership of Asparukh in the Balkans. In his argument the author assumes that the Turks originally lived in the Southern, South-Eastern (following Puchkov and Miller) and Southwestern area around the Caspian Sea after having separated from the Altai (linguistic) community, thus following the proposal of I. L. Kyzlasov who places the origins of the Turkic peoples in the Western Asian region. According to his opinion this area can be seen as the starting point for further movements of the Prototurks through the areas around the Caspian Sea indicated above towards the Eastern and other regions where they are found now and where they lived in the past.
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The article provides some additions to three published inscriptions on frescoes dated to the 15th century from Bulgaria and present-day Serbia.1 .An inscription from the fresco "The Vision of St. Peter of Alexandria" in the church of the Holy Virgin Vitoshka (1475/1476) at Dragalevtsi monastery (near Sofia). The textual sources of the dialogue between Jesus Christ and St. Peter of Alexandria are specified. Theparticular scene (with the Dialogue) is recorded as early as the beginning of the 13th century in mural monuments on the territory of present-day Bulgaria. The text represents the beginnings of two stichera sung on the Seventh Sunday after Pascha (feast of the 318 Fathers, confessors of the faith of the First ecumenical council of Nicea) as well as a text from the Synaxarion for St. Peter of Alexandria (the 24/25 of November). Particular attention is paid to the Vision scene in the monastery of St. Dimitar in Boboshevo (1487/1488), with its epigraphic integration of hagiographic (/hymnic) and liturgical texts. This could be explained by the participation of two of the painters, who were from the clergy.2. An inscription from the "Melismos" scene in the church of the Holy Virgin Vitoshka. The textual characteristics of the inscription in the liturgical scroll of St. Basil the Great (the beginning of the Prayer during the Cherubicon) are re-examined. There is good reason to suppose that the model of the inscription is a codex, reflecting an early version of this passage as attested in some Russian manuscripts dated to the beginning of the 13th century.3. Ап inscription surrounding the image of Jesus Christ Pantokrator in the church of St. John the Theologian at the monastery of the same name in Poganovo (present-day Serbia). The text represents the troparion Sileat omnis caro replacing the Cherubicon in the Liturgy of St. Basil the Great celebrated on Holy Saturday. Considering that the inscription is close to the text in manuscripts NBKM 880 (second half of the 12th century) and NBKM 202 (13th century). Examples from more Greek and Cyrillic manuscripts are added in the study. The epigraphic combination of Sileat and Ps. 101:20b-23a placed in the church dome suggests two options: a) liturgical references similar to these in NBKM 880 are used, or b) different versions of liturgical and epigraphic practice are followed.
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The paper raises the question of the functioning of Biblical (Christian) concepts in the context of their secular reduction in different cultural and philosophical traditions in modern times. The object of the study is the didactic booklet “Curious tale of the villainous and bloody life of Judas Iscariot” of Michael Tashev (1907), which is actually a modern Bulgarian version of the apocryphal story about the life of Judas before his meeting with Jesus known through the Latin collection Legenda aurea of Jacob de Voragine once popular in Europe. The aim of the expositions: first – to establish the possible sources of the story, secondly - to trace the development of the main idea of God's providence (πρόνοια), which was reinterpreted under the influence of Enlightenment, influencing Bulgarian culture in the second half of the XlXth century. The analysis of the text shows that the idea of God's providence changes its meaning, due to the crossing of the three fundamental, but in this case simplified worldview systems competing in Europe: the Judeo-Christian, Gnostic (esoteric), and the Enlightenment (rationalistic) one. As a result, the Biblical idea is out of its original horizon of meaning as a heterodox form for expressing the Gnostic idea of the determinism.
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Keywords: Mobilität; literarische Repräsentation; Osteuropa; postimperiale Studien; Interkulturalität; mobility; literary representation; Eastern Europe; postimperial studies; interculturalism
Rezension zu: Thomas Grob, Boris Previšić, Andrea Zink (Hgg.): Erzählte Mobilität im östlichen Europa. (Post-)Imperiale Räume zwischen Erfahrung und Imagination. Tübingen: Francke Verlag 2014 (= Kultur - Herrschaft - Diifferenz 18), 308 S.
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Keywords: literarische Kriegsdarstellungen; postjugoslawische Kriege; postkoloniale Studien; postimperiale Studien; border narratives; Erinnerungskultur; Identität; Alterität; war literature; post-Yugoslav wars
Rezension zu: Boris Previšić: Literatur topographiert. Der Balkan und die postjugoslawischen Kriege im Fadenkreuz des Erzählens. Berlin: Kadmos 2014 (= Kaleidogramme 112), 478 S.
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Keywords: Lexikologie; Lexikografie; Wortschatz; lexicology; lexicography; vocabulary
Rezension zu: Hana Bergerová, Marek Schmidt, Georg Schuppener (Hgg.): Lexikologie und Lexikografie - Aktuelle Entwicklungen und Herausforderungen. Themenschwerpunkt in: "Aussiger Beiträge" 7 (2013), 254 von 303 S. (review)
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Keywords: Interkulturalität; österreichische Literatur; interculturalism; Austrian literature
Rezension zu: Anna Babka, Renata Cornejo, Sandra Vlasta (Hgg.): Begegnungen und Bewegungen: Österreichische Literaturen. "Aussiger Beiträge" 8 (2014)
More...Keywords: Nicolay Chiolak; composer; conductors; teachers from the Republic of Moldova
This article is devoted to N. Chiolak who is one of the most famous contemporary musicians of the Republic of Moldova. He is a vivid example of the successful and talented combination of a conductor, a composer and a pedagogue (Balaban 2014, 7). N. Chiolak has been the Chair Head of the Ismail Pedagogical Institute, the Chair Head at the Academy of Music, Theatre and Fine Arts for 15 years and a pedagogue at the Academy for 44 years. The article describes N. Chiolak’s becoming a composer. He is the author of the Church music, the secular works for variously structured choirs, the music for voice, piano, organ, cello, etc.
More...Keywords: time; organisation; meaning; symbolism; functions
Musical discourse, and all its important events (thematism, repetitions, interior articulation, elements of diversification and motivic development etc.), must be conceived at the moment of creation within the time frame in which they will take place when the piece is interpreted, in other words, the composer must be capable of imagining a realistic positioning of his work in the time that takes music in its flow. The composer must have a special sense of time, he/she must surpass the reality of the composing time (a much extended reality) and position himself/herself at every moment in the time of the interpretation of his/her work.
More...Keywords: correspondance; interférence; spectacle; multisensoriel; intervalle
La correspondance des arts, les interférences entre sonore, visuel et mouvement, ont préoccupé depuis longtemps les artistes et beaucoup de ceux qui ont réfléchi sur les phénomènes artistiques. Elles sont investiguées aujourd’hui par les neurosciences. Dans l’essai de trouver un langage commun et un moyen d’investigation transversale entre les niveaux du spectacle, l’extrapolation de la notion d’intervalle nous semble un moyen logique plausible.
More...Keywords: Hungarian; folk song; public song; nineteenth century; Színi Károly; folksongpublication
Károly Színi's song collection was rather unique in its time, since it indicated the melodies in one voice, without any piano accompaniment. According to his prolog, and by including the national Anthem – and other patriotic songs, which were born in the middle of the 19. century –, as well as other songs still sung in the beginning of the 19th century but since then partly forgotten, the author intended to highlight the importance of preserving the song tradition of the contemporary collective consciousness. In this publication we can find songs of a wider variety of social classes that were preserved through unwritten tradition, and also fresh folklorisations (such as popular art songs written to the poems of the greatest contemporary poet, Sándor Petőfi).
More...Keywords: “folk song” collections, song-books of the 19th century in historical Hungary, lines and notated tunes; vocal and instrumental melodies; popular art songs; individual and universal collections; histor
The early collection of Hungarian folk songs under the influence of the Enlightenment, was similar to the European documentation of literature and language in general. The collections are historical sources to the living tradition, too. They lighten to musical styles of the different periods, characteristics of different social groups and their typical songs. Individually, but mainly collectively they also capitally reflect to the era of their origin. As the terms „folk song”, „folk music” were unexplained yet, these collections contained all kind of melodies expanding from peasant songs to popular art songs. The publication of these collections started already in the first half of the 19th century. In the second half of the century a new way was taken with the intention to create a universal collection of Hungarian songs.
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